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Volume 3 Number 1 

February , 1995 

The Frankfurt Book Fair 1994 

Theo Gielen 

Visiting this year's Frankfurt Book Fair we were 
able to see the movable and pop-up books - now 
mostly called "interactive books" - the publishers are 
planning to produce in 1995 and 1996. To do so they 
must sell the rights to enough countries to get a 
minimum of 50,000 copies to produce a pop-up book 
for an acceptable retail price. 

These books are so popular nowadays that over 
400 titles were offered and shown at the fair. 
However, not all will get into production - for a 
number of different reasons. I remember from the 
1993 fair a very nicely designed and paper engineered 
(and highly erotic!) dummy of Thousand and one 
nights, never published; or the beautiful Frida Kahlo 
pop-up book (CIDCLI, Mexico) not produced, or at 
lease postponed for copyright reasons; the Pienkowski 
title One red hat, never published since the 
mechanism didn't function; and T)\e Romans pop-up, 
not published as the paper engineer got pregnant and 
didn't return to her profession. 

The following describes just a small selection of 
those books viewed as collectable for their quality 
their originality. This does not include the well known 
fanfolded pop-ups by Ottenheimer (offering 132 
published and 51 new titles), Grandreams (38 titles), 
Brown Watson, and about 70 new Disney titles. 

To start with, some new firms: Pangea Editores 
from Mexico showed their first pop-up book: 
Teotihuacan, based on their well known big city of the 
Aztecs and paper engineered by Wayne Kalama. They 
also announced a series of twelve additional titles on 
the great civilizations of Middle America: The Maya, 
The Aztecs, Monte Albdn, Tenochtitlan, etc. 

CIDCLI, also from Mexico, showed some artwork 
from their third production - after Cristobal Colon and 
Splendor of ancient America - El Milagro del 
Tepeyac, on the Virgin of Guadalupe. 

Wild Honey, the new quality imprint from 
Ottenheimer, had their first publication on display: O 
holy night, an illuminated nativity story with a fold- 
out creche, published subsequently by Victor Books. 

They also showed the dummies of Gutenberg 's 
Christmas, a pop-up book by Nancy Willard (sold to 
Harcourt Brace): The pond song, a pop-up sound book 
illustrated by Debbie Leland; Tfie night before 
Christmas, an advent sticker pop-up book illustrated 
by David Wenzel, and a pop-up version of Edgar 
Alan Poe's The raven done in black and white (!) after 
the engravings by Gustave Dore. 

Intervisual Books Inc. from Santa Monica, 
California had by far the biggest stand, although not 
offering the most interesting titles. On display was a 
revised edition of Jonathan Miller and David Pelham's 
classic TTie facts of life (over 550,000 copies sold to 
date!); a three-dimensional Edwardian doll house by 
Meggie Bateson and Herman Lelie, following the 
similar eight-room carousels published before by this 
couple; a new Kees Moerbeek title Cock-a-doodle 
moool, a pop-up book with animal sounds; a funny 
Skeleton closet by Steven Guarnacci; a nice five- 
spread Fairy tale theater by Jean Claverie, featuring 
four fairytales to act out with character puppets 
enclosed; a promising Mary Engelbreit's pop-up book; 
a spectacular Fairy tale village, a play set that opens 
to a dimensional village of four famous fairy tale 
houses; Mummies, a pop-up book including a pull-out 
Egyptian collar that children can wear; and Ttie 
Hobbit pop-up book. A nice innovation was the new 
David A. Carter title Love Bugs, a heart-shaped pop- 
up book with a foil-stamped cover. On the whole, 
Intervisual Books offered some 85 new titles, 
including about twenty new Disney releases. 

Much more interesting for collecting purposes 
were the titles designed and paper engineered by 
Keith Moseley and Dick Dudley from Compass 
Productions. Show were a highly innovatively 
engineered Great inventions pop-up with a new 
mechanism which made the machines move; a comical 
/ know a little white-washed house, a pop-up history 
of the privy (to be published in 1 995 by Mad 

The Movable Book Society 

Movable Stationery is the quarterly publication 
of The Movable Book Society. Letters and articles 
from members on relevant subjects are welcome. 
Advertising is accepted free of charge from members 
and will be included when space is available. The 
annual membership fee for the Society is $15.00. For 
more information contact Ann Montanaro, The 
Movable Book Society, P.O. Box 1 1654, New 
Brunswick, New Jersey 09806. 

Daytime telephone: 908-445-5896 
Evening telephone: 908-247-6071 
Fax: 908-445-5888 

The deadline for the next issue is May 15. 

Magazine); the astonishing Greg Hildebrandt's book 
of three-dimensional dragons (Little Brown); 
Sunnydale Farm, a book that opens to a dimensional 
scene with four parts of the farm - the farmhouse, 
stable, barn, etc., done in the same technique as 
Moseley's 1994 Batman pop-up playbook; a pop-up 
version of Dante 's La divina commedia, Inferno; 
beautifully engineered pop-up oldtimers offers the 
Pop-up book of classic automobiles; and a wild West 
pop-up The great train robbery. 

Keith Moseley proved to be very productive and 
creative: absolutely spectacular are some new titles 
with popping up machines that can be removed from 
the book by a simple swing and can be played with - 
complete with moving fittings - apart from the book. 
When placed back they simply fold away when the 
book is closed. Highly collectable now since they 
probably will not be found complete in a couple of 
years! It was a nice experience to be guided on the 
stand by the charming Mr. Moseley himself through 
his new production, demonstrating and revealing the 
new techniques he built in his books, and to be given 
his card with - of course - a small pop-up! 

Another former Intervisual paper engineer now 
with his own firm is Ron van der Meer (Van der 
Meer Paper Design), a flamboyant personality, having 
as his trademark his custom-made pointed red shoes . 
A couple of them have been pictured on his (die-cut) 
card also, Still very busy selling his successful Art 
pack, Music pack, and Math pack (first printings of 

over 250,000 copies worldwide), he didn't show many 
new titles. But he showed artwork of The architecture 
pack, a sequel to the best-selling series; The 
children 's art pack, a playful adaptation of the adult 
pack; With love, a pop-up book with a secret poetry 
book; and Wolf tales, a book with a real zoetrope to 
make the stories come alive. In addition there was a 
dummy of an elaborate panorama book showing nice, 
small houses, windmills, etc., against a colorful 
background from his native country of Holland. 

Van der Meer told us he had been approached by 
Disney for a glossy book on the history of cartoons 
and by National Geographic for the first National 
Geographic pop-up not produced by the Society itself. 
The book, dealing with the great forces of nature, will 
be published in a first edition of 250,000 copies. 

Sadie Fields Productions from London showed an 
innovation with Santa's Christmas journey , a scrolling 
picture book by Penny Ives and David Hawcock, 
showing - by turning the handles of a scroll - Santa's 
Christmas journey around the worked on a scroll of 
five feet on each side. Other new titles are Wild West, 
a three-dimensional story frieze of 1.3 meters, the 
"hotel" containing a storage box with four sheets of 
die-cut figures; the new Korky Paul title Have you 
seen Max?, a shaped creepy castle book; The two 
wizards with nine state-of-the-art holograms; Beware! 
museum bearsl, a pop-up fantasy by Jacqueline Karas, 
and Pete Bowman's Teddy's Christmas, a pop-up 
book with mini pop-up Christmas cards put in pull- 
the-tab letter boxes: very charming indeed. 

Oyster Books produced the even more Fantastic 
fairy tale pop-up book - published by Collins as Snow 
White and other fantastic fairy tales (ISBN 0-00- 
1 36006-x) - a sequel to the earlier Fantastic fairy tale 
pop-up book, again with pop-up spreads of four fairies 
and miniature books inserted; and Pete Bowman's My 
bedtime bear, pages with pull-tabs and flaps, and, 
hidden in the back, a real miniature teddy bear in a 
built-in, three-dimensional bed! 

Orchard Books from London offered Iain Smyth's 
The eye of the Pharaoh, a pop-up whodunit, the 
follow-up to The mystery of the Russian ruby, with, 
again, three alternative endings. A Creepy crawly 
collection by Sonia Holleyman, consisting of four 
titles, designed as matchboxes from which a beetle, a 
spider, a worm, and a centipede, respectively, pop- 
up. Each is accompanied with a small pop-up book 
full of fun facts about each insect. And another Smyth 

New Catalogs Received 

Ampersand Books. Dealing almost exclusively in pop- 
ups, movables and children's novelty books. Ainslie's 
Belvedere Mews, Bath BA1 5HP, England. 

Books in Motion: Specialists in Pop-up and Movable 
Books. Catalog 1. Craig Pogosky. Box 952. Teaneck, 
New Jersey 07666. 201-666-9096. 

Books of the Ages. Winter Catalog No. 5. Gary J. 
Overmann. Maple Ridge Manor. 4764 Silverwood 
Drive., Batavia, Ohio 45103. 513-732-3456. 

Harold M. Burstein & Co., Antiquarian Booksellers. 
A February Miscellany including Juveniles, #146. 
[containing pop-up and movable books] 36 Riverside 
Drive, Waltham, MA 02154. 617-893-7974. 

Jo Ann Reisler, Ltd. Catalogue 29. 360 Glyndon St. 
NE, Vienna, Virginia 22180. 703-938-2967. 

Q. For my efforts to reconstruct the printing and 
history of movables and pop-ups produced by the firm 
of Dean & Son from London, I would like to receive 
photocopies of: 1) the front cover; 2) the title page, 
when present; 3) a single page, illustrating clearly the 
technique used; 4) advertisements as often found on 
pastedowns, endpapers, and back covers. 

I would like to receive photocopies from as many 
books as possible published by the firm before 1950. 
If you have any Dean books, please copy pages form 
me even if you this your book is a common one. 
Common Dean titles no longer exist. From the 
movable book Punch and Judy I have already seen 
about 15 different editions just from studying 
bibliographies and reference workd. However, I think 
most of the books are in private collections all over 
the world. 

Theo Gielen 
Strosteeg 35 
3511 VR Utrecht 
The Netherlands 

Questions and Answers 

A. In the last issue I asked what item was missing 
from my incomplete copy of the Random House 
edition of The Wizard of Oz. Many thanks to those 
who wrote to tell me that there were originally 
removable "spectacles" on that page. They are 7 1/2 
by 2 1/2 inches with a transparent green center. When 
the Emerald City, on the following page, is viewed 
through the spectacles, the red warning messages 
hidden in the building design become visible. 

Ann Montanaro 

Q. It has been brought to my attention that on the 
cover of The Jolly Jump-up vacation trip, Geraldine 
Clyne's name is spelled Geraldyne. The cataloging 
source used for the entry in Pop-up and movable 
books: a bibliography used the correct entry for her 
name. Does anyone have a copy of this book with the 
first name spelled correctly as Geraldine? 

Ann Montanaro 

12 Bruning Road 

East Brunswick, NJ 08816 

Q. An article in an earlier edition described a poster 
and book from the Brussles exhibit of pop-ups. Are 
they still available? 

A. Theo Gielen writes that he contacted the museum 
and both are still available. The book is Bfr. 400.00 
(ca. $15.00) and the poster is Bfr. 100.00 (ca. $5.00) 
plus postage. The telephone number is 02-7417211 
and the address for the museum is: 

Musees Royaux d'Art et d'Historie 

Attn: The bookshop 

10 Pare du Cinquentenaire 

B-1040 Bruxelles 


A. A recent enquiry requested the names of 
booksellers who would ship to the United States. I 
have been dealing with the following woman who I 
find to be a warm and honest lady. 

Mary Kellett-Long 

c/o Benjamin Pollock's Toy Shop 

44 The Market 

Covent Garden 

London WC2E8RF 

Raphael Grunzweig 

Toppin' up" and "movin' on" 

A dialogue with the bookbinder 

Removing tape, part 2 

Bill Streeter 
with Jill Holden 

In the last issue we described the removal of tapes 
having water-reversible adhesives. Here we move on 
in the subject of tape removal and discuss how to take 
off tape that has an adhesives that can't be softened 
with water and requires some other means by which 
to lift it from the cover or pages of the book. There 
are several ways to go about removing tape that you 
know won't come off with water. In this issue we will 
discuss methods for removing tape by mechanical 
means without the use of solvents. 

Certain types of adhesive tapes loose their 
stickiness over time. If this is the case, you might be 
able to lift the tape away by gently working a blade or 
spatula under the edge of the tape. Proceed gently, 
and if at any point you find you are tearing or 
otherwise damaging the material the tape is adhered 
to, stop your action immediately. If the tape will not 
lift entirely by mechanical means, you will need to 
proceed with this tape removal using solvents. (Tape 
removal using solvents will comprise the third and 
final segment of this series on tape removal.) Even if 
the tape can be lifted from the surface of the book, 
you may find that the original adhesive has left 
discoloration of the book's cover or pages. Sometimes 
chemical treatments (again, next issue) are useful in 
diminishing these stains. A final caution, be extremely 
careful when attempting by mechanical means alone to 
lift adhesive tape from leather - before you know it 
you can irreparably mar the surface of the leather. If 
the adhesive on the tape is at all sticking to the 
leather, damage will most likely occur as you attempt 
to lift the tape away. It is usually best to work tape 
from leather using solvents. 

Another mechanical technique for dealing with 
adhesive tape on books is only applicable to tape 
adhered to the pages of the book. When the adhesive 
tape is on paper that is uncolored, uncoated, and 
without illustration or text, it is sometimes possible to 
make a shallow incision around the tape to be 
removed and to lift a thin layer of the paper along 
with the tape. This can only be accomplished if the 
pages are thin enough that the delamination does not 
tear right through the paper. Such delamination must 
be done with great care using a scalpel or some 

similar tool. An advantage of delamination as a way to 
remove tape is that the adhesive residue from the tape 
is removed as part of the technique. A disadvantage of 
this method is the fact that you are in effect defacing 
the original material by cutting away a portion of the 
page (of course, the application of the adhesive tape 
was itself a defacing). We balance these sentiments by 
using the delamination process only in inconspicuous 
areas of the book to remove that would otherwise 
present logistical difficulties if removed using 
solvents. For example, if the taping has occurred 
along a gutter margin on a book with its original 
sewing intact, we might find delamination a better 
alternative to manipulating liquid solvents in an area 
that is difficult to get to. We strongly recommend that 
you practice the delamination technique on a wide 
variety of tapes and papers apart from the books you 
are working on before attempting this process on the 
actual items. 

After removing the tape from the book, you then 
must address the reason the tape was put on the book 
in the first place. Options for the repair of torn pages 
and covers are plentiful and provide ample material 
for future discussions in our column. 

How to Select Books for an Exhibition 

Peter Schule 

After my first - and so far only - exhibition, I can 
do no more than try to report on how I came to select 
certain books. There is one piece of invaluable advice 
I'd like to offer: should you plan an exhibition, do not 
hesitate to ask those people who can look back upon 
personal experience with exhibitions. I am very 
grateful to James Sinski and Hildegard Krahe for 
giving me valuable ideas on how to structure, arrange 
and carry out the exhibit. Dialogue and 
correspondence with other collectors was very helpful 
to give me a better understanding of my own ideas 
and intentions. 

James Sinski suggested structuring the exhibit into 
two major parts: an introductory, systematic part, 
followed by arrangements according to differing 
themes. The intention of the first part is to acquaint 
the visitors with the principles of pop-ups and 
movables. By allowing them a glimpse of the history 
and by showing them examples of the production as 
well as the major techniques of how pop-ups and 
movables "pack'' space and movement between the 

pages, the audience is already "expert" before they 
have left the first part of the exhibition. (My thanks to 
Mr. Hunt from Intervisual Books who was so kind as 
to provide some "dummies" and printed sheets to 
illustrate the production process.) With that type of 
background information their interest in the books 
displayed in the second part will be more profound 
and intense. 

The selection of books is a very complicated 
procedure with feedback and decisions which cannot 
necessarily be explained with rational arguments. The 
following points influenced the choice: the availability 
of books; the types of visitors; the "target group"; the 
themes of the showcases; the size of the individual 
books; the themes and techniques on the pages that 
are to be shown; and additional, often decorative 
material to be displayed in the showcases. 

The order doesn't necessarily represent the 
"importance" of the items, which is, indeed, quite a 
personal matter. Whenever possible, I selected books 
which could be shown in motion, as for example, the 
carousel book Cenerentola (Cinderella) rotating on a 
turntable, or books like The pliantom of the opera 
whose music and light effects could be triggered by 
visitors pushing a button. As it is very difficult for a 
non-professional to get hold of a page-turner, but I 
was hicky enough to have one from a publishing 
company for the duration of the exhibit. Similar 
"fancy" devices, more often than not the page with the 
wonderful, amazing movements cannot be displayed, 
but instead the impressive, awe-inspiring pop-up, 
which will hold the audience captive even without 
movement. Inside the showcases I tried to present a 
variety not only in size, syle, and effects, but also of 
illustrators and paper engineers, thus hoping to 
achieve a lively presentation. One of the problems 
here is the danger of over-doing it, rather than giving 
each showcase a unity to help the visitor's memory. 
Some of my themes were: 1) man in motion, 2) 
navigation, 3) technology, 4) natural science, 5) 
nonsense and horror, 6) famous buildings, 7) fairy 
tales, 8) Christmas, 9) children's books, 10) pop-ups 
from around the world, 1 1) historical books, 12) the 
"good life" - opera, ballet, wine, etc. 

The choice was much less difficult with older 
books - older meaning here more than 20 years of 
age. This is due to one simple fact: there are only a 
few originals in my collection. I had on exhibit 
Stroefers Panorama bilder (1884), Nister's 
Panorama Pictures (1890), Happy families and their 

tales (1884) and Ceneretola, a beautiful Italian 
carousel book from 1940. 

I hope that these comments will inspire you to 
have an exhibition with your treasures and I would be 
pleased to get a reaction from anyone interested in the 

Peter Schule 

An der Reitbahn 23 

27612 Loxstedt Germany 

A Kubasta Sampler 

James Sinski 

The following is an excerpt from the exhibit catalog of 
the 7th Annual Pop-up and Movable Book Exhibit held 
at the University of Arizona Library from December 
1994 through January 1995. 

In the history of pop-up and movable books there 
are two men who are considered "fathers": Lothar 
Meggendorfer, the "father" of the first golden age of 
pop-ups from the 1880s through the turn of the 
century, and Wally Hunt, the "father" of the 
contemporary era now called the second golden age of 
pop-ups. Recently, however, Mr. Hunt wrote that he 
considered Vojech Kubasta to be a genius of 
Meggendorfer stature. 

Vojech Kubasta's work first appeared in 1950 
when he was employed by Artia in Prague, 
Czechoslovakia, a state-run import/export agency for 
all types of artifacts, including books. Kubasta's 
books reached the English market under the imprint of 
Bancroft & Co. (Publishers) 1^. Westminster Books. 
These books were sold in penny bazaars as well as 
market stalls. Although Kubasta was trained as an 
architect, he went into graphic design and them pop- 
ups with cut and folded paper. While at Artia, he was 
responsible for all stages of book production and, 
from the 1950s until his death in 1992, he produced 
almost 70 pop-up titles. Artia is said to have produced 
30 million copies of Kubasta's pop-ups in 37 

The sampler of Kubasta's work contains Tip and 
Top go flying which was included in Tlie best of 3-D 
books by T.Yokoyama. The exhibit also features 
books published in several languages. 

title: Toxic and the clockwork mouse, a pop-up book 
complete with a pop-up clock-work mouse to wind up. 

Reed Children's Books showed two new products 
of the Bateson/Lelie couple. Both in the form of fold- 
out panoramas with shaped layers: Victorian market 
day pop-up, a stunning large format (8 panels of 300 x 
275 mm) pop-up scenes complete with stalls, figures 
and an informative text; and Fairy tale palace pop-up 
illustrated in fine detail, from the throne room to the 
servants' quarter, complete with stand-up figures and 
accessories to enable the child to act our the fairy tale 
stories told in the accompanying book. They 
announced also the mini-editions of two successful 
Colin Hawkins' titles: What's the time, Mr. Wolf? and 
Mr. Wolfs week. 

Unfortunately, White Heat Design, a much 
admired paper engineering firm, didn't attend the 
fair, even though they were listed in the fair catalog. 

Finally there can be listed some beautiful 
productions, seen at the stands of other publishers 
who do not specialize in pop-up books. Chronicle 
Books announced the sixth title in Celia King's series: 
Seven great inventions. They also showed the dummy 
of Renaissance architect, a pop-up book by Michael 
Bender on the life and work of the Italian architect 
Filippo Brunneleschi - earlier announced under the 
title Waiting for Filippo. 

Templar Publishing produced two new titles with 
holograms: A night in the dinosaur graveyard and Tfie 
haunted castle: and four brightly illustrated carousel 
books: All things bright and beautiful, Noah 's Ark, 
Father we thank thee, and Morning lias broken. As a 
sequel to Helen Ward's Christmas pageant they 
showed the artwork for 3D museum of the ancient 
world, illustrated by Maggie Kneen. 

It was clear during the fair that at least one 
innovative production seen there would not be 
published: Disney's 1995 Aladdin super pop-up 
calendar as produced by Brown Wells & Jacobs from 
London. Really a pity since we liked the idea of 
having a pop-up on the wall every month! 

In addition to the books mentioned by James T. 
Sinski in the September issue of Movable Stationery, 
in Frankfurt we saw a French packager offering a new 
series of very nice and rather complicated do-it- 
yourself pop-up books of famous stories like Robin 
Hood and The three musketeers. 

Since the Frankfurt Book Fair is a fair of rights, it 
is not useful to give addresses of the firms. Most of 
the producers are just packagers offering their 
products to the publishing houses. Only when the 
rights are sold and the books produced do they get 
ISB numbers from the publisher who offers the titles 
for sale. Just look for new titles as compiled by Ann 
Montanaro in every issue of Movable Stationery to 
spot the publication of the titles mentioned above. 

No need to say this yearly visit to the Frankfurt 
Book Fair is informative and exhausting, but an 
especially pleasing event. Expectations roused? The 
next Book Fair will be in Frankfurt Germany from 
October 1 1-16, 1995. In attendance will also be the 
printing and assembling firms - Carvajal (a beautiful 
pop-up show card this year!) and Lerner from 
Colombia, Tien Wah Press, etc. The only after effect 
is dreaming of having purchased some of those 
beautifully produced dummies with original artwork. 

Pop-ups in the Press 

Len Rosenberg has a wonderful article in the 
January /February 1995 (volume 5 #3, cover and 
pages 31-35) issue of Tlie inside collector. A member 
of The Movable Book Society, Len is a professional 
photographer and collector. The issue cover features a 
pop-up from the 1933 edition of the Blue Ribbon Buck 

Over a dozen books are shown in full color 
including works by Meggenforfer, Nister, Dean & 
Sons, and Kubasta. 

Back Issues Available 

Back issues of Movable Stationery are available 
for $2.50 per issue, postage included. 

Volume 1, #1 - Pricing pop-up books. 
Volume 1, #2 - "Poppin'up and movin' on" A 

dialogue with the bookbinder 
Volume 2, #1 - Building a basic reference 

Volume 2, #2 - Belgian pop-up exhibit 
Volume 2, #3 - ABA Convention report 
Volume 2, #4 - Selected bibliography on making 

Volume 2, #5 - Movable books in the Lilly Library 


I am interesting in purchasing copies of Hallmark 
pop-up books for a research project. If you have 
copies for sale, please contact me. 

Liz Wessels 

Book Finders International 
216 Ringwood Lane 
Elgin, South Caroline 29045 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or 
advertising. All titles include pop-ups unless otherwise 

Away in a manger. A Christmas Carousel Book. By 
Ian Beck. Hyperion, 1994. 8" x 10". $15.95 

The big cheese pop-up book. By Gill and John Speirs. 
Golden Books. March, 1995. 6" x 6". $3.50. 

Chosen for greatness: A super pop-up. [Mighty 
Morphin Power Rangers.] Fun Workd, 1994. 8" x 
10". $11.98. 1-57082-112-7. 

Christmas songs: Songs that go. Pop-up Songbook. 
Publications International. 1994. 5 pop-ups with 10 
musical chips. 11" x 12". $16.98. 0-7853-0773-7. 

The fuzzy peach pop-up book. By Gill and John 
Speirs. Golden Books. March, 1995. 6" x 6". $3.50. 

The green leaf pop-up book. By Gill and John Speirs. 
Golden Books. March, 1995. 6" x 6". $3.50. 

Love bugs: A pop-up book by David A. Carter. Little 
Simon, 1995. 7" x 8" (heart-shaped). $12.95. 

The math kit: A three dimensional tour through 
mathematics. By Ron Van der Meer and Bob 
Gardner. Scribner's Sons, 1994. 10" x 11". $35.00. 

Morphin power. [Mighty Morphin Power Rangers.] 
Fun Works, 1994. 8" x 8". $6.98. 1-57082-111-9. 

Mother Goose songs: Songs that go. Pop-up 
Songbook. Publications International. 1994. 5 pop-ups 
with 10 musical chips. 11" x 12". $16.98. 

Paddington goes on a picnic. A Changing Picture 
Book. HarperFestival. 1995. 3 1/4x3 1/4. $4.95. 

Paddington makes a mess. A Changing Picture Book. 
HarperFestival. 1995. 3 1/4x3 1/4. $4.95. 

Paddington 's first bath. A Changing Picture Book. 
HarperFestival. 1995. 3 1/4x3 1/4. $4.95. 

Paddington 's new room. A Changing Picture Book. 
HarperFestival. 1995. 3 1/4x3 1/4. $4.95. 

The silver dandelion pop-up book. By Gill and John 
Speirs. Golden Books. March, 1995. 6" x 6". $3.50. 

Sidney Harris from Tlie chronicle of higher education. 


Snack pack book: A pop-up book in every box! [Three 
2 3/4" x 4" x 1" boxes which look like cereal boxes.] 
Little Brown. April. 1995. $8.95. 0-316-15241-2. 

Wheels on the bus: Songs that go. Pop-up Songbook. 
Publications International. 1994. 5 pop-ups with 10 
musical chips. 11" x 12". $16.98. 0-7853-0854-7. 

3 9088 01629 2682 
Publisher's Addresses 


Av. Mexico, 145-601 

Col. Del Carmen, Coyoacan 

Mexico D.F. C.P. 04100 

Pangea Editores 
Periferico Sur 3453-601 
Col San Jeronimo 
10200 Mexico 

Publications International, Ltd. 
7373 North Cicero Ave. 
Lincolnwood, Illinois 60646 


The Movable Book Society 

P.O. Box 11654 

New Brunswick, New Jersey 08906